Jason says: “David Gordon Green seems to make movies in spurts-first some noteworthy independent dramas, then some crude studio comedies. Now, a year after doing JOE and reminding audiences that, yeah, Nicholas Cage can act a little when he decides
Jason says: “There are a lot of romantic comedies that start from from premises as ludicrous as that of A LA MALA, but few of them do as well in selling that starting point. It’s a goofy little thing, but
Jason says: “There’s a moment at the end of a lot of the really good ‘Coen-like’ movies (a description unfair to everyone involved, but one people use) where someone sits down, has a long sigh, and considers just what all
Jason says: “Show me MAGGIE at a genre film festival with a cast of unknowns, and I likely react with unreserved excitement. That is, after all, the natural life-cycle and scale of movies such which play with genre conventions the
Jason says: “Though I can’t recite it from memory or anything, ‘Macbeth’ is probably the bit of Shakespeare that has lodged itself in my head the most firmly ever since high school, and that’s kind of an issue when watching
Jason says: “The first of three Sion Sono films being shown at this year’s festival is a joyous, crazy delight, piling whimsy ever-higher even while Sono reveals a darkness behind it. The great bit, though, is that the pieces that
Jason says: “It’s almost a shame that Gaspar Noé apparently shot LOVE entirely in native 3D, because it might be fun to ask guys doing post-conversion work whether sex was a nice change of pace from the usual violence. That
Jason says: “There’s a potentially great movie-industry satire inside LOVE ON THE CLOUD wrapped in a layer of romantic comedy just thick enough that a viewer will likely wonder whether director Gu Chang-wei and company are doing for something very
Jason says: “Filmmaker Ryan Gosling thanks a number of filmmakers toward the end of the credits to LOST RVIER, some of whom he has worked with as an actor, and of that group, it’s Nicolas Winding Refn who leaps to
Jason says: “There is an unabashed simplicity to LOST AND LOVE that might often be called deceptive by those who might want to praise the film, especially if its early stumbling didn’t quite click with those viewers. That may not